One of Broadway’s hot new musicals features women getting gorily chopped up. Like, a LOT of women.

So does this mean “American Psycho” is grossly misogynist? Far from it.

Sure, protagonist Patrick Bateman (the talented Benjamin Walker) certainly is, and the author of the show’s source material, Bret Easton Ellis, has been slammed with that label many times over the years.

But what this story has become — thanks in part to what the female-directed movie did with Ellis’ text in 2000 — is a sly skewering of a woman-hating, alpha-male mindset that sadly didn’t die along with the 1980s. What’s more, it’s blazingly topical political satire.

In fact, this show repeatedly name-checks a certain current presidential front-runner who’s also obsessed with money and famously dismissive of women.

In the book, Bateman is straight-up obsessed with him. Coincidence? I don’t think so. Consider, please, this collection of Trump’s gender-based remarks, which bears a striking resemblance to some of the observations that come out of Bateman’s mouth.

Trump’s hardly the only real-life psycho whose values align nicely with Bateman, who views women as sex objects and, eventually, literal pieces of meat. They’re less than human — kind of like the way certain male presidential candidates are always talking about women’s bodies as if they’re property of the state. But the Donald’s naked allegiance to the dick-swinging world of finance, and his weird obsession with sexual prowess (“There’s no problem!”) dovetail particularly nicely with Bateman’s fetishes.

“American Psycho” has a dark history with feminism. Prominent women’s rights leaders supported a boycott of the book’s publisher, Random House, in 1990. Among them was Gloria Steinem, who would go on to become the stepmother of Christian Bale — who played Bateman in the movie (and allegedly treated his stepmom none too respectfully.)

Putting aside Bale’s personal reputation for monstrousness, the Mary Harron-directed movie turned toward the metaphorical nature of Bateman’s bloody pastime, and the Broadway show follows suit. Is Patrick literally murdering his way through Midtown? Possibly, but he’s also a product of the testosterone-crazed Wall Street set — he’s a little more psychotic than the people he works and plays with, but not THAT much more.

The violence in “American Psycho” isn’t exclusively directed at women, of course. There’s the infamous “Hip To Be Square” scene in which Bateman offs one of his male competitors, played in the film by Jared Leto (fret not, audiences: They’ve introduced a sheer plastic curtain that now hangs between you and the onstage butchery). But in both the movie and the show, men as victims are the exception: Women are the ones who really bring out Bateman’s murderous side, because they’re the ones who are viewed as completely disposable. If this all sounds a little too close to reality, well, it is.

So ladies, feel free to attend “American Psycho” and take some wry, dark pleasure in its portrayal of misogyny taken to a Grand Guignol-esque extreme — not to mention its male star’s fabulously-toned, often near-naked bod, which is just a little icing on the bloody, bloody cake.